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3.
Arts Teacher’s Guide 3
UNIT II: Introduction to COLOR AND PAINTING of
nature and manmade things
MODULE C Colors can be found in nature and colors can be created
by man
Lesson 10. Introduction to Color
Lesson 11. Creating Colors From Nature or From Manmade Materials
Lesson 12. Painting an Object like the Lantern (Parol)
Lesson 13.. Painting My Own Design : Parol, Part 2
MODULE D Colors can be found in our environment
Lesson 14. Painting Colors of a Seascape
Lesson 15. Painting a Scene in Our school and Neighborhood
Lesson 16. Famous Philippine Landscape Painters
Lesson 17. Painting a Still Life
Lesson 18. Painting an Imaginary Landscape

4.
Arts Teacher’s Guide 4
UNIT 1
FIRST QUARTER: Drawing
Module A: Art is all around me.
LESSON 1: Introduction to Art
Lesson Summary
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art
Appreciation
Appreciating
When people lived in
caves, and hunted
and gathered food,
they drew on walls to
record what they did
every day. They also
used drawings to help
them when they didn’t
have words to
express they wanted
to say.
Take a line for a
walk.
Draw
representations of
people, animals, and
houses.
Identify and
recognize objects
from real life in
one’s line
drawings.
Ask the
students (oral
or written):
What did you
like about
making art?
What was the
easiest and
hardest part
about it?
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learner will:
1. Explore the storytelling qualities of art.
2. Describe and name the different kinds of lines and shapes.
3. Draw simple lines and shapes.
4. Use lines and shapes to draw representations of people, animals, and
houses.
5. Relate favorite summer activity by drawing.
6. Define “Artist” and refer to oneself as such.
ART VOCABULARY
 Line: The path of a point moving through space.
 Straight Line: The shortest distance between two points. Draw two
separate
points, and show how the shortest way to get from one point to another is a
straight line.
 Curved line, or Curvy line: A straight line that turns, or that makes a u-turn.

5.
Arts Teacher’s Guide 5
 Thick Lines: Fat Lines
 Thin Lines: Lines that are not fat
 Crooked Line: Zigzagging line.
 Shape: A flat object with no open sides; lines that touch each other on both
ends.
An outline of an object.
 Artist: A person who makes art. Relate to arte (to act) and artista (actor or
actress)
Elements and Principles
1. Line – a line can go in different directions
2. Shape – is the outline of things.
Materials
1. Crayons
2. Paper, cut lengthwise
3. Wall and masking tape, for posting.
4. References:
o No One Saw (A book for children that shows different artists work,
and how artists show how they see). Lacking this, look for books with
different artwork.
o Books or magazines with a lot of pictures
5. Alternative materials:
o Charcoal, crayons, chalk
o Newspapers with no pictures, old wrapping paper, brown paper bags,
any flat bark of trees, big flat leaves or any surface one can draw on
MOTIVATION
Ask students: What is Art? What is an artist?
GAME: LOOKING FOR…
Look for straight lines in our classroom and point to them. Do the same with
curved lines.
Look around the room: look for squares; for circles; for rectangles; ovals.
PROCEDURE
1. Read No One Saw aloud. Introduce the book by talking about how different
people, and different artists see things differently; and in the book about
artists, each artist shows by drawing, painting, and making art, how they see
different things. If you are looking at artworks, note that artists draw or paint
in different ways.
NOTE: Books or magazines with lots of pictures may be used.

6.
Arts Teacher’s Guide 6
 As you read, ask the students what they see in each picture. Are
there lines? What shapes do they see?
 Ask the students to describe the lines – straight, curvy, etc.
 Ask the students to describe the lines that form the shapes.
2. Distribute the materials. Only one crayon per child.
3. Tell the students that a line is a dot or a point that went for a walk. Show the
students by drawing a point on the blackboard, then describing its
movements as you draw your line.
 Example: “The dot went up, then down, then tumbled around…” Draw
the movements you are describing.
4. Have the students put down their crayons on paper, and wait for your
instructions. From this point direct them with oral instructions – the point goes
up, falls down, dances around…goes back, goes forward.
5. After this initial activity, put the students into groups so they may share the
crayons. Have the students draw freely on the same sheet of paper:
 Draw what the point saw when it went for a walk – trees? Animals?
People?
 The point here is to get them to draw, and not the accuracy or the
likeness of the drawing.
6. Have the students examine their drawings. Explain that they just drew
different lines and shapes.
7. Distribute a second sheet of paper. Ask the students to draw freely: They can
choose from more objects found inside or outside the classroom.
PROCESSING, EVALUATION
1. Ask for volunteers, or ask the students to show and explain their artwork.
2. If there is little or no time, randomly choose one or two of the art works and
have the artists explain to the class why they chose that object. Let the
student point out the different kinds of lines and shapes in the artwork.
3. Post the work of the students and let them look at the artwork of others and
look for the different kinds of lines and shapes.
4. Congratulate them on doing art work, and remember to call them artists. A
round of applause would be nice for the students as well. As much as
possible, display the work of ALL the students.

7.
Arts Teacher’s Guide 7
LESSON 2: Face Portraits
Lesson Summary
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
Before the camera
was invented,
people drew faces
instead of taking
pictures.
Draw a portrait;
shapes and lines
using pencil,
crayon, or
charcoal.
What is “good” or
“nice” about each
person’s face?
Choosing a
favorite portrait
and being able to
say why.
Identifying lines
and shapes in a
person’s face.
Each face is
unique. Our faces
are works of art.
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learner will:
1. Identify regular shapes – circle, oval (oblong), square, triangle - that can be
seen in a person’s face.
2. Identify and describe the different types of lines that can be seen in a
person’s face:
 Curved, straight, crooked (zigzag),
 Thick, thin long, short
3. Define the given art vocabulary.
4. Differentiate, or tell the difference, between two faces: the students’ and his
or her classmates’
5. Identify what is unique, different, and beautiful about each part of each
students’ and his or her partners’ faces.
6. Learn the reason for portraiture.
ART VOCABULARY
 Portrait: A picture or a drawing of a person from the shoulders to the head.
 Symmetry: When one shape is copied, then flipped (just like in math). When
one side is exactly the same as the other.

8.
Arts Teacher’s Guide 8
Elements and Principles
1. Line 3. Form
2. Shape 4. Symmetry (balance)
Materials
1. Pencil, paper
2. Wall and masking tape, for posting.
3. Alternative materials:
o Charcoal, crayons, chalk
o Newspaper with no pictures, old wrapping paper, brown paper bags,
or any wall.
MOTIVATION
 Show portraits done by Fernando Amorsolo, Ben Cabrera, and Justiniano
Asuncion
and ask the students to identify persons in the portraits and compare.
 Alternative resources:
 Pictures of people the students are familiar with, or portraits of past
Philippine Presidents that can be found in a grade 5 Araling
Panlipunan or Philippine history textbook.
 Children’s drawings
 Mirrors (so the students can view their reflections)
 If there are no mirrors available, the students can be paired up and
look at each other’s faces.
Ask the students to choose a portrait they like and give the reason why they
chose it.
PROCEDURE
1. Show portraits done by Amorsolo, Ben Cabrera, and other artists.
a. If there are none, show the students pictures of portraits of famous
presidents of the Philippines from textbooks. If there are enough
textbooks for each student in the class, divide the students into
groups and give each group a textbook, opened to the specific pages.
b. If there are no portraits or textbooks, have the students look at their
faces in the mirror.
c. If there are no printed portraits or mirrors, have the students divide
themselves into pairs and ask them to look at each other’s faces.

9.
Arts Teacher’s Guide 9
2. Identify the parts of face. Ask the students what shape they think of when
they look at his or her partner’s face. If there is an easily manageable
number of students in the class, ask the students to trace the shapes using
their fingers. Include the shape of the head.
a. If the students are using print material or a mirrors, have the students
run their fingers on the surface and trace the shape of the face.
b. If the students are looking at each other’s face, have them trace the
shape with one of their fingers, without touching the face of the other
student. They may take turns, or trace at the same time.
3. Ask the students to tell the class or each other (if working in pairs), what is
different and beautiful about one or two parts of each person’s face.
*If prints of the portraits or pictures are available, explain to the student that
before
cameras were invented, they had to draw faces of people. This is also why
some
portraits or drawings of faces look exactly like the person, and others look a
little
different.
4. Give each student a drawing tool and something to draw on.
5. Group the students into two.
a. If you used a printed portrait or picture, have the student observe the
face and comment on the shape of the face, eyes, nose, and mouth of
his or her partner.
b. If you used mirrors, work can be done individually. Have the student
take a second look at them.
Have the students look at their own or their partners’ faces again and then
ask them to draw the shape of the head.
6. The teacher can call the attention of the students to the following:
a. Eyes: start with the shape. Then focus the students’ attention to the
eyeball. Ask the students where the eyeballs are found. Can they see
the whole circle of the eyeball? Then have the students draw only the
part of the eyeball that they can see.
b. Eyebrows and eyelashes: What kind of lines do you find on your or
your friends’ eyebrows? Thick? Thin? Lightly curved? Bent? Long?

10.
Arts Teacher’s Guide 10
Short? Have the students draw the line of the eyebrow, making it thick
or thin as necessary. Do the same with eyelashes.
c. Nose: Have students examine the tip of the nose and the nostrils.
What kind of line does it form? And what shape are the nostrils? Have
the students draw what they saw.
d. Lips: Have the student draw the line where the upper and lower lips
meet. What does the line look like? Then have the students draw the
line of the upper lip, than the line of the lower lip.
e. Ears: Look at the shape of the ear. What line does it look like?
Curved? Slightly curved? It would help if the students are allowed to
compare the ears to other things they are familiar with – does the
shape of the ears look like cup handles? Butterfly wings? Have the
kids draw the ears.
f. Hair: Where does the hair start on the head? At the top, above the
eyes? The line that forms at the edge of the hair? Is it straight? Wavy
or curvy? Thick? Thin? Have the students draw these as well.
7. Once the students have completed the drawings, tape the portraits on the
wall, as close to the students’ eye level if possible. If there is not enough wall
space to post all the portraits, lay the portraits in a line along the floor (in this
case masking tape is not necessary).
a. OR hang strings from corner to corner of the room and paper clip the
drawings on the string. You can also use laundry clips.
PROCESSING, EVALUATION
1. Take a few minutes to look at each portrait. Ask the students which one they
like best, and why.
2. Does the drawn portrait look like the person?
3. Not all portraits drawn by artists look exactly the same as the person. That is
the role of a camera and a photograph. Now artists express their own style
or interpretation when they draw a portrait. If three or four artists draw the
same person, each artist will draw a different person because each will have
their own style.
4. Affirm the differences in the children’s art works. Each person draws in his
own way and there is NO RIGHT OR WRONG WAY OF DRAWING.

11.
Arts Teacher’s Guide 11
LESSON 3: Full Body Portraits
Lesson Summary
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
Some people of
long ago liked to
remember not just
their own faces or
those of other
people, but the
whole person. So,
they drew the
whole body: the
Mother, father,
brother, or sister.
There were no
cameras yet, so
people posed, and
artists drew them.
Create a full body
by tracing. Fill in
the tracing with
lines and shapes
to create a person.
See the
likeness in the
traced shape
and the
person’s body.
Identify the
difference
between the
drawn shape
and the
person’s traced
shape.
Identify the
similarities and
differences between
people’s body
shapes; and
appreciate one’s
unique shape.
TIME ALLOTMENT: 2 SESSIONS (40 minutes each)
OBJECTIVES
The learner will:
1. Define the given art vocabulary and review the definitions of lines and
shapes.
2. Identify the limbs and other major parts of the body, and trace the shape of
the body.
3. Recognize the differences in each person’s body shape while using lines and
shapes
to draw themselves or each other.
4. Recognize the human body as an art form and each person is different and
should be valued.
5. Learn that a long time ago, people were drawn to tell stories of who they were
and what they were doing.
6. Compare what they see in art work and in real life.

12.
Arts Teacher’s Guide 12
*This session would also be a great opportunity to boost the students’ self-esteem by
reiterating how all bodies are different and unique and none are “ugly”. That is
VARIETY.
ART VOCABULARY
 Trace – to draw a line around something.
 Outline – the line drawn around an object. When you are finished tracing, the
outline is the resulting drawing.
 Organic shapes – shapes that have no straight lines and no corners like a
face and other parts of the body.
Elements and Principles
 Shape – the human body comes in different shapes. This shows variety.
 Line
 Symmetry
Materials
 Crayons (use colors that are bright or dark enough to be seen against printed
paper)
 Paper (newspaper, manila paper, or any type of paper that is big enough that
the length and width of the student’s body will fit. Paper may be taped
together at the back, to accommodate the size of the student).
 Alternatively, different pieces of paper may be taped together at the back.
 Alternative Materials
 Chalk or charcoal (if using charcoal, ask students to wear old clothes
or work clothes)
 Clean wall or floor space if there is no paper.
 References: Full-body drawings or paintings by famous artists like Justinian
Asuncion
and Simon Flores.
MOTIVATION
Ask: If you could pose for a full body drawing, how would you pose? What pose
would you strike that others will remember for a long time?
Let the children demonstrate different poses and let the others guess what they are
trying to show in their poses.
1. Have the students stand in a circle or in two rows facing each other. Instruct
them to “strike a pose” at the count of three. One, two, three! You should join
this activity.
2. Repeat this activity one or two more times.

13.
Arts Teacher’s Guide 13
PROCEDURE
1. Explain the art history (or connections) background.
2. Let the children remain in a circle. Explain that their next art activity is still full
body drawing, but this time they will help each other.
3. Pick a student to help with the demonstration. Lay out a piece of paper on the
ground, or tape it to the wall. Have the student “strike a pose” while lying on the
paper or, while leaning on the paper taped to the wall. The teacher will use a
crayon or pencil to trace an outline of the student.
4. As the outline is being made, explain what “trace” means.
5. When the outline is completed, have the student stand up and step aside so
everyone can see the outline. Explain what an outline is.
6. While the students are examining the body outline, ask the students to identify
the body parts and describe the kind of line used to draw it.
7. Have the students work in pairs, or in groups if there is small space, and
instruct one of them to lie on the paper while the other traces around them.
When they are finished, they will switch roles. There is no need for everyone to
be “traced.” Students can work in groups.
8. When all outlines are finished, the students can fill in the outlines with lines and
shapes.
9. Post the finished drawings on the wall, or corridors. If there is no space or big
paper, each student can draw a person in their family – full-body showing the
attire of that person and what he or she is doing, on a bond paper size of
paper.
PROCESSING AND EVALUATION
Look at the full body drawings and have the students explain their artwork. Ask the
students which one looks most like the real life person, and ask them to explain why,
or what parts of the drawing specifically resemble the real life person. Ask them if it
was fun working with a group? Why?

14.
Arts Teacher’s Guide 14
LESSON 4: Drawing different people together
Lesson Summary
Art History/
Connecting
Art
Production/
Creating
Art Criticism/
looking and
Seeing
Art
Appreciation/
Appreciation
People like to
remember events
and special
occasions by looking
at pictures. Before
there were cameras,
people created
artwork to remember
these special
moments.
Draw your
family or people
in your
neighborhood
doing something
together.
Tell stories based
on the artwork
about what their
family or neighbors
do together.
After viewing the
artwork, identify
the similarities
between families
and communities
Value the role of
each member in
the family and
community.
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learner will
1. Define the given art vocabulary.
2. Describe what they see in terms of people’s shapes, height, jobs, and roles in
the family or community
3. Explore their own role within their family as they describe their families and
communities (relate to: Social Studies lesson )
4. Draw and describe what their family looks like and what their family/community
likes to do together through their artwork.
5. Compare their family/community activities with that of others’; and see how
alike they are
6. Appreciate the role of each member in the family and in the community.
ART VOCABULARY
 Subject – the subject in an artwork is like the lead actor or bida in a TV show.
It is what the artwork is about; or the most visible in the artwork.
 Foreground – The area in the front or lower part of the artwork. Relate the
root word “fore” to “forehead,” which is in front of the face.

15.
Arts Teacher’s Guide 15
 Background – Opposite of foreground; Surroundings; the scenery behind, at
the back or around the subject of the artwork.
Elements and Principles
1. Shape
2. Line
3. Balance – a principle of art that describes how artists achieve visual weight
using such elements as line, shape, and color
4. Emphasis – prominence given to person by his place or size.
Materials
 Pencil
 Paper
Small pieces of paper taped together.
 Alternative Materials
 Chalk or charcoal
 Clean wall or floor space.
 Possible References
 Ang Dyip Ni Mang Tomas (Download for free online at
www.canvas.ph), or any other children’s story about community
and/or family activities.
 Different artwork depicting families and communities, preferably by
Filipino artists
Example: Amorsolo’s countryside paintings where people are
harvesting or Edades’ murals
 Pictures from magazines, newspapers or print advertisements
showing a group of people.
MOTIVATION
Read aloud, Ang Dyip Ni Mang Tomas (or other story). Discuss what the
different characters in the story are doing.
PROCEDURE
1. Read the story.
2. Explain to the students what “subject” means. Then ask the students:
a. Who or what is the subject of the story?

16.
Arts Teacher’s Guide 16
b. If the book has pictures, have the students look at them and point out
the areas where subjects/objects overlap. Show the students which
part of the artwork is the foreground and background.
3. Ask the students if they can relate to the story in any way. What do they do
as a family or as a community?
4. Review how they used lines and shape to draw figures in the previous
classes.
Distribute materials.
5. Have the students draw their family doing something together. Describe
the body shapes of the family members: Who is the tallest in the family?
Explain that this is the subject of their artwork.
6. Then have the students draw their community around the family. Explain
that this will be the background. They can also draw what they see in their
community.
NOTE: Some children may not have a “complete” family with mother, father, and
brothers and sisters. Tell them each family is different. Some have mothers
or fathers or
siblings who are living and working far away from home or in foreign land.
Each of them is doing something for the family.
PROCESSING AND EVALUATION
When the class or some members of the class are done, gather them
together and ask each child to explain his or her artwork. Then look for similarities
between the activities or subject – not the art work itself, but the scenes depicted on
them. Ask the students to identify the similarities and differences in each other’s
work. Explain that even though families and communities are in different places, it is
possible to like to do the same things.

17.
Arts Teacher’s Guide 17
LESSON 5: Animals in the Philippines
Lesson Summary
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
The Philippines is
home to unique
animals not found
elsewhere in the
world. These can
be found in the
different islands of
the country.
Draw the unique
Philippine animals.
Texture that we
draw makes
something look
more real,
because it looks
like you will feel
the surface when
you touch it.
Identify different
types of lines and
shapes in animals.
Describe the
texture of each
animal’s skin.
Appreciate the
variety of animals.
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learner will
1. Define the given art vocabulary.
2. Identify different kinds of animals, particularly those found in the Philippines:
Carabao, Philippine Eagle, and Tarsier, etc. and appreciate their uniqueness.
3. Use lines and shapes to draw different kinds of animals indigenous to the
Philippines.
4. Identify and describe lines and shapes that can be found in the images of
animals.
5. Use different lines to make the texture on the covering of animals.
ART VOCABULARY
 Texture - How something feels when you touch it.
 Rough – bumpy, like sandpaper
 Smooth - No bumps; even;
 Include other texture or surface descriptions as needed, depending on
the kinds of animals the students will draw. Words like fluffy, furry,
wrinkled, and spiky may be included. Use adjectives in Filipino, if
necessary.
Elements and Principles
1. Shape 3. Line
2. Texture 4. Color

18.
Arts Teacher’s Guide 18
Materials
 Pictures of indigenous Philippine animals (some of them are shown on
postcards): carabao, tarsier, Philippine eagle, dugong, pawikan, etc.
 Cartoon drawings of the given animals like the Guyito cow mascot of the
Philippine Daily Inquirer
 Chalk (preferably colored)
 Paper with different textures: wrapping paper, brown paper bag, newspaper,
magazines
 Sandpaper
 Alternative materials: Charcoal and bark or, if outdoors, the surface of rocks
or stones.
MOTIVATION
Discuss similarities and differences among Philippine animals they know of,
or that they see in the pictures. Viewing: Show the students pictures of different
animals. Slides or PowerPoint maybe used. Otherwise, you can pass the pictures
around or show them to the class one by one. If a computer and projector are
available, you can show videos of animals in action. As the pictures are shown,
let the students name the animals and identify the kinds of shapes and lines they
see in the animals. Let them also imitate the sounds and movements of the
animals.
PROCEDURE
1. Show the students drawings or cartoon renderings of the animals.
If none are available, the teacher should make his or her own line drawings of
the animals. Include a simulation of texture. Tell them that the covering, the
feathers, the fur of the animals is called “texture” – because you can feel it.
2. Explain texture: Show the pictures again, and ask the students to describe
the different kinds of texture they see in the skin of the animals. Point out how
these can be drawn using different kinds of lines – long and straight for
smooth, short and curvy for soft, etc.
3. Distribute materials.
4. Let the students choose which animal he would like to draw from the pictures
displayed or shown. The students can also choose to draw from memory.
Remind them to show the different shapes and lines of the animal’s head,
body, and legs. Encourage them to draw the texture of animal’s skin.
5. Post the students’ work on the wall. Put the animals that belong together near
each other.

19.
Arts Teacher’s Guide 19
PROCESSING AND EVALUATION
After the drawings are finished, pick one randomly, and ask the class to describe
what lines and shapes were used to draw the animals, and the kinds of lines and
shapes used to show the texture of the animal’s skin. Ask them to classify the
animals depicted on their drawings according to shape, color, size. For value-added
discussion, ask: What can we do these animals will be safe?
Homework
If there are no trees or plants on school grounds, have the students bring one leaf
each to the next class. Remind them to bring only fallen leaves.

20.
Arts Teacher’s Guide 20
LESSON 6: Plants in my Province
Lesson Summary
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
Plants in the
Philippines have
different uses.
Leaf rubbing
enables one to see
and feel the texture
of leaves.
Create patterns
through the
repetition of one
design.
Pencil or crayon
rubbing in one
direction to create or
repeat texture.
An object looks
interesting
when the
texture is
drawn.
Identify different
types of lines and
textures seen in
plants.
Appreciate the
many different
shapes and
textures of plants
in the Philippines.
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Identify different kinds of plants, particularly those that can be found or seen
in the Philippines.
3. Draw from actual leaves and plants: use lines and shapes to draw different
kinds of plants found in the students immediate environment.
4. Identify and describe lines and shapes that can be found in the leaves of
plants.
5. Make leaf rubbings to bring out textures and patterns.
6. Apply what they learned about leaf rubbings to create texture.
ART VOCABULARY
 Organic Shapes – shapes that resemble nature.
 Rubbing – In art, rubbing is when paper is put on top of something with
texture, and then a crayon or pencil is rubbed across the paper; the texture of
the item underneath will be seen.
 Pattern – When a single object, or shape, is repeated
Elements and Principles
1. Shape 3. Texture 5. Shadow
2. Line 4. Pattern

21.
Arts Teacher’s Guide 21
Materials
 Peeled crayons or carpenter’s crayons (thicker and unwrapped)
 Paper (flimsy paper works well)
 Leaves
 Magnifying glass (if available)
 Alternative materials
 Colored chalk
 Clean wall or floor space
MOTIVATION
Nature Walk: Go for a quick walk outside the classroom. Pick up leaves fallen from
trees. *If there are no plants or trees on the school ground, assign the class to bring
a leaf each.
PROCEDURE
1. Ask the students to spread the leaves out in front of them. Explain that these
are organic in shape. Organic means natural things like leaves, rocks,
branches, animals. Organic shapes look like natural shapes in nature.
2. Review the concept of texture by having the students examine the leaves.
Use a magnifying glass, if available, for an enlarged view of the leaf.
a. If there are limited magnifiers, divide the students into groups so they
can take turns using the magnifying glass.
b. If there is only one magnifying glass, hold the magnifier and go to
each group so the students may observe the leaves as a group.
c. If there is no magnifying glass, simply have the students look very
closely at the leaves (at least one per student).
3. Have them describe the lines they see.
4. Have the students run their fingers across the leaf’s surface. Describe the
texture – is it rough? Smooth? Fuzzy? Crunchy?
5. Distribute the crayons and paper.
6. On one corner of the paper, have the students draw what they see in the leaf
– the lines, the shapes, even the holes, if any.
7. State that the next activity will be rubbing. Demonstrate how to do this on
paper pressed against a leaf.
8. Have the students put the leaf under the paper, well away from the drawing
that they did earlier, and hold the paper down against the leaf.
9. Next, tell them to lay the crayon on its side and rub the part of the paper that
is directly over the leaf. Rub hard to get the texture.
10. As they see the textures emerging, point out, in their drawing or rubbing,
where the leaves are darker and where the leaves look lighter. Explain
highlights and shadows.

22.
Arts Teacher’s Guide 22
11. At this point, they may switch crayon colors, or use the same one used
earlier, whichever they prefer. They may also exchange leaves so they can
try different leaves using the same paper.
12. Have the students move the leaf (still underneath the paper) to a different
part.
13. Have them rub the top part of the paper again, creating yet another leaf
pattern.
14. Repeat the process until the paper is filled with outlines.
15. Optional: Have the students draw an outline around the rubbings, and shade
some parts of the leaf, like near the main vein or around the edges. They can
create different patterns by following the same procedure on the above.
16. Post the artwork on the wall. Ask them to label the drawing by writing the
name of the leaf.
PROCESSING, EVALUATION
As the class looks at their artwork posted on the wall, explain what they have
done: that is, create a pattern.
Some guide questions:
 How many different patterns can you see? Appreciate the clear patterns or
leaf rubbings.
 Compare the pattern created from rubbing and the drawn leaf. Which looks
more real? Why?

23.
Arts Teacher’s Guide 23
Lesson 7: Houses in the Philippines
Lesson Summary
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
There are many
different kinds of
houses in the
Philippines. Some are
on stilts and others
are above the water!
Others are built on top
of the mountains.
Some are near a rice
field. What kind of a
house do you see
often?
Draw houses that
you see or live in
(real) and draw
houses from the
imagination.
Describe the
materials used to
make different
houses.
Appreciate the
uses of the
different parts of
their house; that
shelter is an
important part of
one’s existence.
Appreciate the
differences and
uniqueness of
houses on stilts
(Badjao); stone
houses in
Batanes; nipa
houses in the
countryside, etc.
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. See the difference between man-made and natural objects.
2. Identify the different kinds of materials used to make houses.
3. Appreciate the lines, shapes, and textures of buildings, and houses in
different communities in the Philippines.
4. Draw houses from imagination
5. Draw their own houses.
ART VOCABULARY
 Manmade objects – Objects that did not originate in nature and are created
by man.

24.
Arts Teacher’s Guide 24
 Proportion – the relation between elements or composite parts and a whole.
Is one too big in relation to the other? Does something seem significantly
smaller because it is standing next to something that is way too big?
 Architecture – buildings, houses; the design and building of structures.
 Architect – A person who designs, creates, and builds buildings, houses,
malls, and other physical structures.
Elements and Principles
1. Shape
2. Line
3. Form
4. Proportion
Materials
 Suggested References:
Balai Vernacular, Ma. Corazon A. Hila, Rodrigo D. Perez, Julian E.
Dacanay, Museo ng Kalinangang Pilipino (date of publication?).
 Philippine Folk Architecture
 Philippine Ancestral Houses
 To save time sketch or copy photos or illustrations of houses in any of
the foregoing (or similar) books that represent houses that the
students will be able to relate to. Limit the viewing to two or three
images.
 Ideally, one nipa or bamboo hut, one bahay na bato, and one “regular”
house, similar to what they live in.
 Newsprint, size A3 or bigger
 Bond paper sized paper.
 Carpenter’s crayons, pencil, or charcoal
 Wax crayons
MOTIVATION
GAME: Architect-architect
Each student gets to design a house from his or her imagination.
Leading question: If you could to live in any kind of house anywhere – country,
beach, outer space – where would you live and what kind of house would you have?
PROCEDURE
1. Distribute pieces of small paper and pencil or crayons.

25.
Arts Teacher’s Guide 25
2. Have the kids draw an imaginary house. Instruction: They have to pick a
place, and design a house to be built in that place.
That place could be any country, a mountain, beach, or even outer space
(to allow room for creativity).
3. After a few minutes, post their drawings of imaginary houses on the wall or
board.
4. Explain that they have just designed their first house. Get them to appreciate
their unique drawings.
5. Take out the photos or drawings of houses (from the books).
6. As the class looks at the pictures, explain that the architects or builders of
these houses considered the location, use, and availability of materials.
a. For example, the original concept of bahay na bato (literally stone
house) included a garage for a horse-drawn carriage, built underneath
the house. The holes under the windows, or the ventanillas, allowed
air to circulate even if the windows were closed (there being no
electric fans at the time).
b. Another example would be the Cordillera huts’ sloping roof sloped so
that rain would slide down the sides, and not cause the roof to fall
inside the house.
7. After viewing the last house, return the students’ work and ask them if the
house they drew would be strong enough to withstand the forces of nature
and suited to their locations. Also ask if the houses will serve its purpose?
Will the house in outer space, for example, have built in oxygen tanks? Or will
the beach house be raised so that the sand doesn’t get inside too often?
8. Distribute the larger pieces of paper and crayons.
9. Have the students draw an even better house on the paper, or they can draw
their own homes.
PROCESSING AND EVALUATION
For their imaginary houses:
Once the students finish their work, or if some finish early, gather them a circle and
have the students present their designs, just like architects do right before they build
the houses that they designed. Encourage the students to comment on each other’s
work, constructively and positively.
For drawings of their real houses:
Let the students describe the materials that their houses are built of, and their
locations near the sea or river? near the road or rice field? on top of the mountain?
near the road?
What do they like about their houses? What don’t they like about them? Why? If they
are architects and they can improve their houses, what will they do?

26.
Arts Teacher’s Guide 26
LESSON 8: Houses in My Neighborhood
Lesson Summary
TIME ALLOTMENT: 2 SESSIONS (40 minutes each)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Appreciate what is around them and see the spaces in the neighborhood.
3. Review the words foreground and background.
4. See the similarities and appreciate the differences between neighborhoods.
5. Draw different buildings found in the community.
6. Appreciate working in groups (much like a neighborhood does).
7. Recognize the positive and negative spaces in their neighborhood.
ART VOCABULARY
 Space - the area between, above, below, and around things.
 Positive Space – generally, the space occupied by the subject of a piece of
artwork.
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art
Appreciation
Appreciating
A house is in a
neighborhood. A
neighborhood consist
of people living near
each other in a
particular area. In a
neighborhood, there
are houses, churches,
stores, markets, etc.
Large drawings of
a neighborhood.
The students’
drawings can be
made into a mural.
Observe and
recognize that in
their neighborhood
there are different
kinds of structures
for living in,
praying, selling
goods, and other
activities.
Say what they
like about
their
individual
neighborhood
s.
Recognize
the positive
and negative
spaces in a
drawing of
buildings in
the
community.

27.
Arts Teacher’s Guide 27
 Negative Space – space that is empty, such as that between buildings in a
community.
 Balance – refers to the ways in which the elements of an artwork, such as
lines, shapes, and colors, are arranged.
 Mural – a piece of artwork painted directly on a wall, ceiling, or any large
permanent surface.
Elements and Principles
1. Shape
2. Line
3. Pattern (repetition)
4. Space
5. Balance
Materials
 Pictures of artwork depicting or showing a neighborhood.
 Examples: Victoria Abad Kerblat (http://loqal.ph/arts-and-
entertainment/2012/01/10/filipino-artist-seeks-to-preserve-the-beauty-of-
batanes-thru-paintings/)
 Cesar Balagot
(http://www.kriyayoga.com/philippines/philippine_art_and_paintings/index.
html)
 Newsprint or manila paper, cut lengthwise
 Pencils or crayons
Motivation
Look at the pictures of neighborhoods and comment on the different buildings seen
there. GAME: Neighborhood survey
Have the students stand in a line or in a circle (depending on the amount of space
available). Ask the students if the pictures have something similar to or different
from their neighborhoods in terms of structure. The students who answer yes, I have
that in my neighborhood (at the very least near their house) will step into the circle.
The point of this game is to show similarities and differences between their
neighborhoods as well as to help the student be more conscious of who and what
kind of establishments are in their respective neighborhoods. They will also
appreciate what they have in their respective communities.
Some questions you can ask:
 Who lives near a sari-sari variety store?
 Who lives near a church? A school? Near the school he or she goes to?

28.
Arts Teacher’s Guide 28
 Who lives near:
 A bridge? City hall? A bakery? A barbershop? A drugstore? A rice
field? A police station? A dumpsite? A canal?
A variation of this “game” is to get suggestions from the students. Example: “I live
near a cemetery!”
PROCEDURE
1. Play the neighborhood survey game.
2. Distribute the pieces of paper and have the students lay them out in front of
them, crosswise (long side down). Explain that this empty, clean piece of
paper you are giving them represents negative space. Once they start
drawing on them, it becomes positive space. If they erase something, they
are creating negative space again.
3. Distribute the drawing tools (pencils or crayons).
4. Have the students draw their own house from the outside, as they remember
it.
5. Then have them draw what is on either side of their house.
6. Ask them to draw other establishments in a neighborhood one by one.
a. Sari-sari variety store
b. Basketball court
c. Church, police station, or barangay hall, tricycle station, jeepney stop,
market, school, hospital, etc.
*If none of the foregoing facilities exists in the students’ immediate
environments, ask them to draw something else.
*Also, if time is short, you the students may skip no. 4 and just let draw
their neighborhoods on their own. They may draw one building as the
teacher says it. The students can be grouped together, especially since
some of them live in the same neighborhood.
7. Tape the neighborhood drawings to the wall, with the edges of the paper
overlapping seamlessly to make the neighborhood seem interconnected.
Depending on the number of students, the “neighborhood” may even end up
going around the classroom. The students may also cut out the building they
have drawn and paste them on a large piece of paper or on the wall,
arranging it to represent their neighborhood.
8. To complete the mural, the students may also add additional drawings: trees,
plants, and people.

29.
Arts Teacher’s Guide 29
PROCESSING AND EVALUATION
Examine at the “neighborhood” as a class. Discuss the artwork: Where are the
positive and negative spaces? In terms of balance are some neighborhoods more
crowded than others? Is there more negative space in some than others?
Explain to the students that they have just created an imaginary neighborhood out of
their individual ones. Give the class neighborhood a name (Barangay ____ ? or
Kalye _____? ) Leave the artwork on the wall until the next period.

30.
Arts Teacher’s Guide 30
Lesson 9: Landscape: A view from my school
Lesson Summary
TIME ALLOTMENT: 2 SESSIONS (40 minutes each)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Explore landscape drawing.
3. Appreciate the difference between a cityscape and a landscape.
4. Draw a landscape, seen in your neighborhood.
ART VOCABULARY
 Landscape – In art, this is a picture or painting that shows natural scenery.
 Cityscape – An artistic representation of a city in a painting or photograph.
 Fernando Amorsolo – One of the most celebrated artists in the history of
painting in the Philippines.
Elements and Principles
1. Shape
2. Line
Materials
 Artwork or pictures of Fernando Amorsolo’s landscapes (easily found on
Google Images)
 Newsprint or manila paper
 Pencils
 Crayons or charcoal (oil pastel is ideal)
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art
Appreciation
Appreciating
Filipino artists from
different times drew
and painted scenes
around them like
Fernando Amorsolo.
Draw a landscape. In a landscape
many objects of
different shapes
are drawn
together.
When we draw
scenes in our
place, we are
drawing a
landscape.

31.
Arts Teacher’s Guide 31
 References:
 History of landscapes:
http://www.museumnetworkuk.org/landscapes/history/history14th.htm
 Sagisag Kultura ng Pilipinas, NCCA, use the picture of Phil. bahay kubo,
bahay na bato.
MOTIVATION
Searching for Horizon Lines: Asks the student to look out the window. Ask: How far
can you see? What do you see where the sky meets the ground?
PROCEDURE
1. As soon as the class settles down, have the students take another look at
their neighborhood art work (ideally, this should still be on the wall, or at the
very least, these should be put up, overlapping slightly at the edges before
the class starts). Explain to them that the neighborhood they have created
may be called a “cityscape” (if in city).
2. Next, tell the students to look out the window and randomly ask some of them
how far their eyes can see. If the windows are too small for the class size, the
students may take turns looking out the window. It is also possible to ask for
a few volunteers.
3. When everyone is seated, distribute the paper and drawing tools. For the
next demonstration, use the blackboard or paper taped to the wall.
4. Tell the students they will now draw a landscape. Explain what a landscape
is, as compared to a cityscape. Show them Amorsolo’s landscape. A short
description of who Amorsolo is would be helpful and interesting. A Landscape
is what you see in the country, where there are fields, mountains, trees.
5. Look at a picture or painting. Ask the students the following questions:
a. Which objects are drawn bigger?
b. Which objects are drawn smaller?
c. Which objects are far?
d. Which objects are nearer?
6. Some students may not be able to grasp the concept of horizon line yet and
that objects that are drawn smaller are farther. That is all right. Some,
however, may do.
7. What is important is for the students to be able to draw the different parts of a
landscape that they see.
8. This lesson also provides an opportunity for students to be observant.
Encourage them to draw as many things as they see on the landscape.

32.
Arts Teacher’s Guide 32
PROCESSING AND EVALUATION
When the students are finished, have them look at their landscapes and cityscapes.
Discuss the differences. Then ask them which they enjoyed more, or which drawing
(land or city) made them feel better. Then ask them to explain why. Let them
describe their neighborhoods. Do they have enough trees and space? Who among
them seems to have a better neighborhood? Why?

33.
Arts Teacher’s Guide 33
UNIT 2: Painting
Module C: While colors abound in nature, they can also be created by man.
LESSON 10: Introduction to Color
Lesson Summary
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Explore mixing colors and using painting tools properly.
3. Explore the different ways colors can be used.
4. Paint a rainbow, using different kinds of colors.
5. Associate colors with feelings.
6. Learn the classroom painting rules and routine. Clean painting tools and
desks after painting.
ART VOCABULARY
 Color – a description of how the surface of objects looks, depending on how
the light hits them.
 Rainbow – When light hits the water in the atmosphere after the rain, a
rainbow appears in the sky.
Elements and Principles
Color – the rainbow has the following colors: red, orange, yellow, green, blue,
indigo, and violet (ROYGBIV for short, representing the order of the colors of
a rainbow)
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art
Appreciation
Appreciating
Sometimes when
people cannot
express their
feelings or
thoughts using
words, they use
color.
Paint a rainbow. Associate colors
with feelings.
Recognize and
identify colors in
the natural and
manmade
surroundings.

34.
Arts Teacher’s Guide 34
Materials
 Copy of the children’s book Kulay! (Adarna House)
 Also Adarna House’s The World Around Me series, in which each book
highlights a particular color.
 Local myths and legends about the rainbow
 Cartolina
 OR: Any paper that is light enough or thick enough to absorb color.
 Watercolor (in tubes) in red, blue, and yellow
 OR: Homemade finger paint (boiled cornstarch or “gawgaw,” mixed with
color)
 Soft paint brushes
 OR: Sponges masking-taped or tied to sticks
OR: If using finger paint, students use fingers as “brush”. (rags or old newspaper
to wipe hands after.
 Plastic cups or plastic bottles with the top cut off (these do not fall down as
easily as plastic cups. One for every four students at most. These should be
half-filled with water.
 Newspaper, for lining the work surface and wiping brush or hands
 Damp rags, for wiping hands, brushes, or work surfaces; one for every two to
four students. (These can be assigned to the students to bring).
 If there is no faucet or water source nearby, have two pails ready – one for
clean water and another to pour dirty water in. Add pails if there are more
students.
 Have a dry cloth or two near the water pail so the students can dry their
hands after washing.
 It will help if the students could wear something over their clothes, like
oversized T-shirts
 String or rope, on which to hang the artwork to let it dry; clothespins (sipit). If
the art class is right before recess or lunch, the students can dry the artwork
on the table.
You will need the following as motivational tools:
Kulay! Or The World Around Me series.
Local myths and legends about the rainbow
ORGAME: Touch the Color
Any song about the colors of the rainbow

35.
Arts Teacher’s Guide 35
MOTIVATION
1. Read the book(s) out loud “Kulay!” Ask the students if they know stories,
songs, poems about the rainbow, and let them recite or sing them.
2. (If the books are not available, play a game instead: “Touch the Color,” where
a color is named and the students look for and touch objects of that
color. Make sure there are many different colors around the room).
3. Talk about the concept of color. Explain that color actually comes from the
reflection of light when the sun hits the waterdrops. Ask the students if they
know what a rainbow is. Explain how a rainbow can appear after it rains, and
why the colors are different.
4. Ask the students how certain colors make them feel. Or what color they
comes to their minds a specific emotion is mentioned (“If I am angry, the color
I feel is…”). Students are bound to feel differently and associate colors
differently. Do not correct them. Point out that some colors mean different
things to different people. Emphasize to them that every person is different.
5. You can also show colored pictures or paintings and ask them what they feel
when they look at each of these. (Get pictures or paintings with one dominant
color).
PROCEDURE
1. Tell the students that today they are going to make their own rainbow. But
first, establish the rules and procedures of painting together. Group students
by fours.
a. Distribute one can of water to each group. This will be used to clean
their brushes or fingers. If there is not enough space, the groups can
share- or paint on- one big piece of paper. Have 2 or 3 big pails from
which the children can get clean water for their containers.
b. Give one cup of paint at a time to be shared by the group.
c. Distribute the materials except the paint. Leave the plastic cups empty to
minimize accidental spills and splashes. The students should write their
names on the back of the paper.
2. Demonstrate the procedure to the students by doing a few rounds of
“practice,” going through the motions without using water or paint. After the
practice, they can paint.
a. Dip the brush in the water cup, wipe excess water against the side of the
container or dab it on newspaper or rags.
b. Paint – move hand or arm as though painting an arc.
c. Repeat. (Dip, dab, paint, – dip, dab, paint…). Now they are ready to
paint.
d. If they are using a brush, let them dip brush in paint and paint their
rainbow.

36.
Arts Teacher’s Guide 36
They can paint several arcs. Clean the brush in the big can before using
another color.
e. If they are using their fingers, dip them in the colored glue mixture and
paint arcs.
Have them wash their fingers before using another color.
NOTE: If a class is quite big to manage, have the students paint the same color
at the same time. For example, say “Red” as a cue for everyone to paint a red
arc. Otherwise, the students can paint the arcs as they desire after you have
shown them how.
3. When the groups have finished painting their rainbows, hang their work on
the clothesline (sampayan).
4. Have the children dip the brushes they used in the big water pails, and dry
them on the newspapers. Let them clean their work areas. If children finger-
painted, have them wash their hands and dry them using rags or
newspapers.
PROCESSING AND EVALUATION
Viewing of each other’s artwork:
As the class looks at their work and the work of their classmates, ask them what they
thought about painting a rainbow. Then ask them what happened when they painted
one color next to another. When the colors were mixed, did they stay the same? Or
did they produce new color? Have the students name the colors that were formed by
putting one color next to each other.
Then tell them that in the next class they will learn more about making new colors by
using different combinations of red, yellow, and blue. If possible, keep the paintings
displayed until the next class.
Encourage the students to be more observant when a rainbow appears in the sky so
they can note its colors. If students know a “rainbow song,” let them sing the song
with action. They can also be encouraged to create their own songs or poems about
the rainbow.

37.
Arts Teacher’s Guide 37
LESSON 11: We can create colors from nature or manmade materials.
Lesson Summary
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Create colors by combining them.
3. Create a color wheel using crayon-resist.
4. Recognize and identify the colors found in nature.
5. Use manmade colors to replicate colors of nature
ART VOCABULARY
 Primary Colors – These colors cannot be made by mixing other colors but
they can be combined to produce a range of colors. They are red, blue, and
yellow.
 Secondary Colors – These colors, namely, violet, green, and orange can be
made by mixing primary colors:
 Red + Blue = Violet
 Blue + Yellow = Green
 Yellow + Red = Orange
 Crayon-Resist, also known as wax-resist – In this mode of painting, wax
and water-based paint resist and repel each other. Crayons are made of wax.
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art
Appreciation
Appreciating
Time was when
colors were not so
easy to make.
Before there was
paint, people used
pigment or color
from different
plants and
animals,
sometimes even
fruits.
Create a color
wheel
by combining
colors.
Be able to identify
which colors were
mixed together to
create other colors.
Recognize and
name colors
seen in nature
and appreciate
the
different colors
of leaves, trees,
flowers, insects,
and birds, in
nature.

38.
Arts Teacher’s Guide 38
Water Paint or liquid color does not stick to wax. When you paint over a
crayon drawing, the paint will peel off the crayon as the wax crayon resists
the paint. Oil and water do not mix.
 Color Wheel – It show us how colors are related, and reminds how we can
mix colors to make other colors.
Elements and Principles
1. Shape
2. Lines
3. Color
Materials
 Little Blue and Little Yellow, Leo Lionni. The book is not easy to find but
there is a video here on this Internet site:
http://www.youtube.com/watch?v=vTaaYWLH2pE
 Pictures or paintings showing primary and secondary colors
 Copies of a color wheels (or a color wheel that you will make)
 Crayons at least six colors
 White cartolina
OR: Any paper that is light enough or thick enough to hold color.
 Black or any dark watercolor
 Homemade finger paint (instructions to prepare this can be found on the
Internet)
 Soft paint brushes (or Chinese brushes); or
 sponges masking-taped or tied to sticks
 if using finger paint, any old cloth or newspaper
 Newspaper, for lining the work surface
 Damp cloth, for wiping hands, brushes, or work surfaces; one for every two to
four students
 If there is no faucet or water source nearby, have a pail of clean water in one
corner of the room and empty pail for putting used water. Add pails if needed.
 Have a dry cloth or two or old newspaper near the water pail so the students
can dry their hands after washing.
 An apron or oversized T-shirt which the students could wear over their
clothing.
 String or rope, on which the artwork may be hung to dry; clothespins (sipit). If
the art class is right before recess or lunch, the students can dry the artwork
on the table.

39.
Arts Teacher’s Guide 39
MOTIVATION
Read the book Little Blue and Little Yellow out loud. Ask the students to name
other objects that are of the same color.
b. If the book is not available, you can watch the video.
c. If the students cannot watch the video together, can read/watch it first
then tell the story to the class by using paint or finger paint to
illustrate.
d. Alternatively, show pictures or paintings and let the students name the
colors they see.
PROCEDURE
1. You can show blue and yellow cellophanes to the students.
When blue and yellow cellophanes overlap, holds them up against the
window, and asks the students what new color is produced. Do the same for
blue and red, and red and yellow? Ask the students what new colors are
produced.
2. Proceed to explain that a color wheel can help us see what other colors are
produced when different colors are mixed together. Explain primary (show the
wheel made by the teacher at this point) and secondary colors. Point to the
colors as they are mentioned.
3. Distribute the pieces of paper as well as crayons or pencils. Have the students
draw a circle on the paper.
4. Then have them divide the circle into six slices, each shaped like a “V.”
5. Distribute the crayons or paint (red, yellow, blue).
6. Starting with the top most “slice,” have the students color it red, blue, or
yellow. It has to be a primary color.
7. Skip one slice, and then color the third slice another primary color. Repeat
this procedure for the remaining slices.
8. In between the primary colors, have the students apply a secondary color –
start with the space between blue and yellow (like the story!). They can mix
blue and yellow crayons to make green. Do the same for the red and yellow.
Steps 5 through 8 in the lesson plan will illustrate the point better if paint is
used. If time and class size and materials permit, do so. Otherwise
crayons will do.

40.
Arts Teacher’s Guide 40
9. Remind the students about the “painting” rules discussed during the last
class. They still apply. Do a practice run, if necessary?
10. Once all the spaces have been filled with color, distribute the paint and
brushes. Have the students paint over the crayons using black color. The
crayons will resist the paint right before their very eyes! Make sure the paint
is not so thick that it spreads and resists the crayon drawing. Show samples
of good crayon-resist works.
11. Let students hang the paintings on the clothesline when dry. (sampayan).
12. Put the brushes in the big water pails, and remove the newspaper from the
work surface.
PROCESSING AND EVALUATION
Ask the students to describe their work and express admiration for each other’s
artwork.
Which works show the crayons under the black paint? Did the resist work?
Recap the session: what they did, the rules, the cleaning up. Then ask the students
what happened when two primary colors were mixed (Little Red and Little Yellow
hugged and became little orange!). Then ask them what happened when they
painted over everything with black paint.*
*This can be an extension of the story: that something dark and scary named Big
Black tried
to take or hide them. But they worked all together and was able to resist Big Black.

41.
Arts Teacher’s Guide 41
LESSON 12: Painting a Design, like a PAROL
Lesson Summary
TIME ALLOTMENT: 2 SESSIONS (40 minutes each)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Draw the basic shape of a parol.
3. Draw shapes within shapes inside the parol.
4. Explore the different kinds of Christmas lanterns found in the Philippines and
appreciate their variations.
5. Understand the Christmas lanterns’ origins.
*This lesson is most effective when done around the Christmas season.
ART VOCABULARY
 Christmas Lantern or Parol – is a star shaped lantern used to light the way
to church to attend the daily midnight masses (Misa de Aguinaldo or Simbang
Gabi) during the Spanish times.
 Concentric Circles – Two circles that have the same center point. Coined
from the words con (meaning with or share) and cent or center. Usually these
look like one circle is on top of the other.
Art History/
Connecting
Art Production/
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation/
Appreciating
Lanterns can be
seen all
throughout the
Philippines during
Christmas
season. This is
something
uniquely Filipino.
Draw and paint a
Christmas lantern
or Parol pattern
There are many
kinds of parol.
Which one is your
favorite?
Appreciate all the
variations of
shapes, colors,
and designs in a
traditional
Christmas parol

42.
Arts Teacher’s Guide 42
Elements and Principles
1. Shape – geometric and organic shapes
2. Lines – straight and curved lines
3. Color – primary and secondary colors
4. Pattern – repetition and contrast
Materials
 Teacher’s reference: “A Child’s Pasko: Christmas in the Philippines”
www.myparol.com
 Pictures of Different kinds of parol
 Crayons, for drawing. So that when they paint, the paint does not go outside
of the crayon marks (hindi lalampas)
 White cartolina (or any paper that is light or thick enough to hold color)
 Poster color -- red, blue, yellow
 Suggestion: Write to poster color manufacturers or distributor to ask for a
grant or sponsorship months this activity. Perhaps you can print the
students’ art work to give them corporate Christmas cards.
 Soft paint brushes, preferably small.
 or: Sponges masking-taped to sticks. Chicken feathers, for their fine tips
 Old plastic plates or plastic container lids, for mixing colors
 Popsicle sticks, toothpicks, or barbecue sticks, for mixing the paint
 Newspaper, for lining the work surface
 Damp rags, for wiping hands, brushes, or work surfaces; allot one for every
two to four students.
 If there is no faucet or water source nearby, have pails of water ready.
 Have dry rags near the water pails so the students can dry their hands after
washing.
 An apron or oversized shirt which the students could wear over their clothing.
 String or rope, so the artwork can be hung to dry. Clothespins (sipit) also. If
the art class is right before recess or lunch, the students can dry the artwork
on the table.
MOTIVATION
Show pictures of parol or if possible, real parol to the students. Let them discuss the
colors, shapes, designs made by hand by craftsmen and women from Pampanga
and different parts of the country.
PROCEDURE
1. Ask the students if they know what a parol is. Then ask them if they know
how to make one. What materials are used to create a parol?

43.
Arts Teacher’s Guide 43
Explain that today, they will be painting their own parol. They will work in
groups of two or three huge pieces of paper are big paper are available.
However, if only
small paper is available, each child can draw and paint their own parol.
2. Show the different pictures of parols and ask them what shapes they see
within it.
If possible, include photos of parols that light up.
3. Layout the newspaper on the work surface.
4. Distribute the pieces of paper. Have the students use crayons to draw at least
four circles on their paper. If more circles fit, they should draw more, but not
too many that the circles will end up being too small.
5. Have them make another circle inside the first ones they drew. These are
concentric circles.
6. For the first parol, ask students to draw a star. For those of them who do not
know how to draw a star, you can start by telling them to draw a lower case
“W,” then on top of it draw an upside-down “V” then, to connect the top and
bottom, on both sides, draw sideways “v”s.
7. Explain that this is one of the most common and simplest parol designs.
Have them do something more complicated on the next circle – perhaps a
star with another circle in the middle, or a square a diamond? Ask the
students for shape suggestions. They could draw leaves or faces. (Bring back
some of the things drawn from first quarter). They can also add other shapes
to make more attractive designs parol.
8. Once they have designed ALL the circles that they drew, distribute the
painting tools – water cups, cloth, brushes. Remind them once more about
the painting rules. Do another practice run if the need arises.
9. Have them paint the parol designs. They can mix the primary colors to make
secondary ones on the distributed mixing plates.
10. Explain to them that they have created another pattern – of circles with
designs in them.
11. Hang the paintings.
12. Put the brushes in the big water pails and remove the newspaper from the
work surface.

44.
Arts Teacher’s Guide 44
PROCESSING AND EVALUATION
Recap the purpose and meanings of the Philippine Christmas lantern, or parol. Then
look at the patterns, and the designs, and ask the student which one is the most
colorful? Which one makes them feel happy, like it is Christmas? Then ask them to
pick a favorite and say why they like it best.
Leave the parol paintings of the students to decorate the room or corridors outside
their classroom so they could be viewed by others.

45.
Arts Teacher’s Guide 45
LESSON 13: Painted Design: Parol Part 2
Lesson Summary
TIME ALLOTMENT: 2 SESSIONS (40 minutes each)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Paint a round and larger version of previous design.
3. Cut out the design and make a mobile using what they have painted.
4. Learn about re-purposing their drawing and artwork into a mobile and
decoration.
5. Appreciate handmade as opposed to commercially available gifts.
*This lesson is most effective when done around the Christmas season.
ART VOCABULARY
 Scale – related to Proportion. This refers to the size of one thing as it relates
to another. As a verb, or action word, to “scale something down” or “scale
something up” means re-sizing an object. The same proportions only bigger
or smaller.
 Mobile –able to move or moveable.
 Movement – the art of moving.
Art History/
Connecting
Art Production/
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation/
Appreciating
Christmas
lanterns, apart
from being
symbols of peace
and guidance, can
also be great
decorations and
given away as
gifts! Filipino
families use parols
for decor.
Enlarge their
previous patterns
or designs. Make
a mobile with the
enlarged designs.
Which kind of parol
makes a place
more festive –
round or painted
patterns?
Appreciate the
festiveness of
parol, and
appreciate that
these are
handmade by
unknown artists.

46.
Arts Teacher’s Guide 46
 Handmade – Something made by hand, as opposed to machine-made, or
store-bought.
 Re-purpose – Taking something, such as artwork, to use it as something
else. Artwork for instance, maybe used as gifts, gift wrapper, or décor.
Elements and Principles
1. Shape – circles, triangles, and other geometric shapes
2. Color – primary and secondary colors
3. Movement
4. Proportion
5. Scale
Materials
 Teacher’s References:
 A Child’s Pasko: Christmas in the Philippines
 www.myparol.com
 Pictures and artworks depicting different kinds of parol
 A real parol
 Crayons, for drawing. So that when they paint, the paint does not go outside
of the crayon marks (hindi lalampas)
 Old paper plate (cardboard, not styrofoam). Use the thickest cardboard
possible),
old round bilaos
 OR: use cardboard cut out from old boxes or posters.
 Pre-punch holes at the top and bottom. (In case there is time to paint
three paper plates, punch holes at the top, and then two more on both
sides of the hole at the bottom (so the lower part of the circles will
have holes punched at the 8 o’clock, 6 o’clock, and 4 o’clock spaces)
 Poster colors, red, blue, yellow, white
 Suggestion: Write to poster color manufacturers or distributors to ask for
a grant or sponsorship months beforehand. Perhaps you can print the
students’ art work to give them corporate Christmas cards. Or, ask
factories near your place if they have excess cardboards or thick boards
which the students can use for their work.
 Soft paint brushes, small
 OR: Sponges masking-taped or tied to sticks
 OR: Chicken feathers, for their fine tip.
 Old plastic plates or plastic container lids, for mixing colors
 Sticks, toothpicks, or barbecue sticks, for mixing the paint
 String (any type), pre-cut into 8” – 12”

47.
Arts Teacher’s Guide 47
 Hole puncher (for the teacher’s use)
 Old newspapers, for lining the work surface
 Damp rags, for wiping hands, brushes, or work surfaces; allot one for every
two to four students.
 If there is no faucet or water source nearby, put a pail of water in a corner of
the room; add more pails if there are more students.
 Have a dry rag or two near the water pail so the students can dry their hands
after washing.
 An apron or oversized T-shirt which the students could wear something over
their clothing.
 String or rope, so the artwork can be hung to dry; clothespins (sipit). If the art
class is right before recess or lunch, the students can dry the artwork on the
table.
MOTIVATION
Pictures or paintings of parol and the students’ own painted parol patterns. Discuss
what shapes and colors are repeated. Which designs are attractive and why?
Show them what a “mobile” is and tell them they are going to make their own parol
mobile.
Procedure
1. Show the pictures of parol to the students. Tell them they are going to
make larger mobile version of two or three of their patterns.
2. Return the students work from the last session.
3. Ask them to choose at least two of the designs.
4. Layout the newspaper on the work surface.
5. Ask the students to bring out the materials they brought. If you have old
paper plates or round cardboard cutouts, give two pieces per student.
Explain that the holes are so that they can put a string at the top (and
hang it from somewhere). And then the holes on the bottom are for
strings to hang the other two Christmas lanterns they will paint.
6. Distribute the crayons and painting tools. Remind the students, again
about the classroom painting rules.
7. Have the students first draw the designs they want to enlarge on each of
the circles.
8. Pack away the crayons, then have the students paint the cardboard.
As the students finish, give them the string so they can proceed to tie the
knots. Demonstrate how they put the string through the holes and how
they can tie it.

48.
Arts Teacher’s Guide 48
9. Hang the mobiles. If these dry up within the school day, allow the
students to bring them home, along with the parol patterns from the
previous class.
10. Put the brushes in the big water pails and remove the newspaper from
the work surface.
PROCESSING AND EVALUATION
Recap the purpose and meanings of the Philippine Christmas lantern, or parol. Look
at their mobiles, along with the patterns they did previously, and explain what these
could be used as décor for their home.
Also explain the meaning of hand-made and “re-purposing” and explain that they will
save both money and the environment if they use their artwork as gift wrapper or as
décor for their home to make their parents happy.
Emphasize the value of creating gifts and décor with one’s own hands rather than
buying them, since much time and effort and caring is given when one makes a
handmade gift or décor to be given to persons dear to us.

49.
Arts Teacher’s Guide 49
LESSON 14: Painting the Colors of a Seascape
Lesson Summary
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Familiarize themselves with National Artist Felix Resurreccion Hidalgo.
3. Identify colors that can be found in a seascape and appreciate Hidalgo’s
work.
4. Review and apply concepts learned in the landscape lesson.
5. Paint their own seascapes.
ART VOCABULARY
 Seascape – Remember the landscape? A seascape is kind of like that,
except instead of trees and plants, a seascape shows a view or a picture of
the sea.
 Horizon Line – The line where the sky meets the land. In a seascape, it is
the line where the sky meets the sea. You can think of this as the line where
the sea appears to end.
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
The Philippines is
an archipelago
with many of
islands and is
surrounded by
water and many
seascapes.
Felix
Resurreccion
Hidalgo was one
of the Filipino
artists that
painted
seascapes.
Paint a
seascape.
What colors can be
found in a
seascape?
See the beauty of
the sun’s
movement over the
sea in the paintings
of famous artists.
Appreciate the
country’s different
provinces as well
as different artists.
Who was Felix
Resurreccion
Hidalgo?

50.
Arts Teacher’s Guide 50
 Cool Colors – On the color wheel, cool colors are the colors next to each
other: green, blue, and violet.
 Warm Colors – Red, orange, yellow
Elements and Principles
1. Color – cool colors.
2. Mood or feeling conveyed by a painting
Materials
 Pictures of Hidalgo’s seascapes
 Pictures of actual beaches or oceans, preferably in the Philippines
 Story or biography of Felix Resurreccion Hidalgo (available on the internet)
 Pencils
 White Cartolina or bond paper, preferably A3 in size
 OR: Any paper that is light enough or thick enough to hold color.
 OR: Any recycled/cut-up box. If the cardboard is corrugated, it is best, but
not necessary, to pre-prime it with white paint (any acrylic house paint will
do)
 Poster color, red, blue, yellow
 Acrylic house paint will work as well. Its advantage is that the colors come
out brighter. It is also a lot cheaper. However, acrylic house paint is
permanent, and does not wash off of.
 Soft paint brushes, small size.
 OR: Sponges masking-taped or tied to sticks
 OR: Chicken feathers, for the fine tips
 Plastic plates or plastic container lids, for mixing colors
 Sticks, toothpicks, or barbecue sticks, for mixing the paint. Recycled plastic
spoons or knives will work well also.
 Newspaper, for lining the work surface
 Damp cloth or rags for wiping hands, brushes, or work surfaces; allot one for
every two to four students.
 If there is no faucet or water source nearby, have a pail of water in one corner
of the room; add more pail of water if necessary.
 Have a dry cloth or two near the water pail so the students can dry their
hands after washing.
 An apron or oversized T-shirt which the students could wear over their
clothing.
 String or rope, so the artwork can be hung to dry. Clothespins (sipit) also. If
the art class is right before recess or lunch, the students can dry the artwork
on the table.

51.
Arts Teacher’s Guide 51
MOTIVATION
Show Hidalgo’s seascapes and pictures of beaches during sunset, sunrise, or
daytime; or any picture of the sea. Philippine seascapes can be shown. If children
live near the sea, ask them to describe the colors they see as well as the objects
they see.
PROCEDURE
1. Recall the landscape project. Remember the words? Horizon line in
seascapes mean something different: where the sky meets the sea. Show the
class the pictures.
2. Point out that the sea does not really end where the line is, but because the
world is round, and because our eyes cannot see past or below the horizon
line (on the other side), it only looks like the sea ends there.
3. Layout the newspaper on the work surface. Distribute the paper.
4. Distribute the crayons and painting tools. Remind the students again about
the classroom painting rules.
5. Starting with the sea, have the students paint right on the horizon line.
Explain that it is okay to use both blue and green. You can even go as far as
to say that there is such a color as blue-green.
6. Continue to paint the sea using sideways strokes.
7. Let the students paint the sky and what they see in the water (banca, boats,
fishermen with nets). Tell them to paint what they SEE.
8. When the students finish painting, post the artwork on the wall;
9. Put the brushes in the big water pails and remove the newspaper from the
work surface.
PROCESSING AND EVALUATION
As the class views their individual artwork, point out the cool colors and warm colors.
Relate this to actual temperature: blue = cool = water/ocean. Yellow = warm = sun =
heat.
Ask the students if any one of them has ever seen an ocean or a sea. Have them
describe it and say how it looked. If they haven’t seen the sea, ask them what they
think it would feel like (they can use their artwork as basis for a response.)
After their seascapes are posted, let them comment on:
a. their own work
b. the work of others
Ask them to point out which of their paintings looks the most peaceful or serene. Can
they show other pictures that convey calmness and peace?

52.
Arts Teacher’s Guide 52
LESSON 15: Painting a scene in our school and neighborhood
Lesson Summary
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Familiarize themselves with Filipino artists Carlos “Botong” Francisco and
Victorio Edades, and appreciate their work.
3. Increase their awareness of what they see in their surroundings every day.
4. Review and apply concepts they learned in the landscape lesson.
5. Make a viewfinder.
6. Draw the scenes they see using a viewfinder.
ART VOCABULARY
 Viewfinder – A tool or device that can be used to find and “frame” that which
finds interesting.
 Frame – the borders or edges of a picture
 Scene – a view that is part of your environment
Elements and Principles
a. Line – we see geometric and organic lines around us.
b. Shape – everything in our environment has a shape.
c. Color – objects in our environment have manmade or natural colors.
Art History/
Connecting
Art Production
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation
Appreciating
Painting one’s
environment – or
aspects of it – tells
something about
an artist’s life.
Carlos Francisco
and Victorio
Edades are
examples of such
artists.
Make a viewfinder.
Draw what you see
through the view
finder.
What do you see
most often in your
home and school?
What do you enjoy
looking at every
day?
Sometimes the
view is not
pleasant, but we
can see lines,
shapes and colors.
Art is all
around us. In
our everyday
lives, from the
moment we
wake up to the
moment we go
to sleep, we are
surrounded by
art.

53.
Arts Teacher’s Guide 53
Materials
 Pictures of paintings by Edades and Francisco
 Stories or biographies of Edades and Francisco (available on the internet)
 Stiff paper – folders, boxes, old calendars; cut into a minimum of 6” x 9”
rectangle.
 Teacher should make a viewfinder before the class. Cut the rectangle,
then draw a smaller rectangle in the middle. Fold the paper and cut it out
into smaller rectangles.
Scissors may also be used (the students will be using scissors).
 Scissors
 Scotch tape
 Pencils
 Paper
MOTIVATION
Show paintings depicting the everyday lives of Filipinos by Carlos Francisco and
Victorio Edades.
Ask the students:
 What objects do you see in the painting?
 Which objects are near? Which objects are far?
 What is the difference between the works of Francisco and Edades?
PROCEDURE
1. Show the students the paintings. Ask them what they see. Do they know
anyone who is doing what the people in the paintings are doing?
2. Proceed to explain that Edades and Francisco were Filipino painters who
wanted to show the everyday lives of Filipinos. Tell the students that this next
lesson will have them doing the same thing.
3. But first, they will make something called a “viewfinder” to help them choose
a view and sketch or draw it.
b. Distribute the pre-cut boards.
c. Show the students how to make their viewfinder by following the
instructions indicated in the materials portion of this lesson plan.
d. Have them write their names on one side of the viewfinder.
X

54.
Arts Teacher’s Guide 54
4. Once the viewfinders are finished, have the students hold them up, as shown
below.
5. Have them move around the room as they look through the viewfinder. If
there is a window, have them take turns looking out the window.
6. When they have chosen a “picture” or view, have them sketch what they see.
7. Repeat the process, to enable the students to get used to sketching what
they see in the frame.
8. Continue process until the end of class. Submit drawings to teacher (make
sure their names are on it!)
HOMEWORK
Use the viewfinder to look for interesting things or scenes or people around your
house.
PROCESSING AND EVALUATION
1. After the students have been given their homework, tell them that they should
draw the scene they viewed that they like best.
2. Ask the students if they found the viewfinder helpful. How?

55.
Arts Teacher’s Guide 55
LESSON 16: Famous Philippine painters of Landscape
Lesson Summary
TIME ALLOTMENT: 1 SESSION (40 minutes)
OBJECTIVES
The learners will:
1. Define the given art vocabulary.
2. Familiarize themselves with Filipino artists Carlos “Botong” Francisco and
Victorio Edades.
3. Increase their awareness of what they see around the every day.
4. Review and apply concepts they learned in the landscape lesson as well as
lessons from the first quarter.
5. Understand that the artist first makes a lot of studies, or sketches before
deciding what to paint.
6. Paint their own everyday lives.
ART VOCABULARY
 Sketch – A quick drawing, without too many details.
 Scene – A view that is part of your environment.
Art History/
Connecting
Art Production/
Creating
Art Criticism/
Looking and
Seeing
Art Appreciation/
Appreciating
Painting one’s
environment – or
aspects of it –
tells something
about an artist’s
life. Carlos
Francisco and
Victorio Edades
are examples of
such artists.
Paint scenes from
everyday life.
What do you see
around you most
often? What do
you enjoy looking
at every day?
First, the artist
sketches what he
or she sees.
Then he or she
makes a lot of
sketches before
choosing what to
paint.
Art is all around us.
In our everyday
lives, from the
moment we wake
up to the moment
we go to sleep, we
are surrounded by
art.

56.
Arts Teacher’s Guide 56
Elements and Principles
1. Line – a landscape has both geometric lines and organic lines
2. Shape – buildings, houses, churches have geometric shapes
3. Colors – primary and secondary colors are found in a landscape
Materials
 Pictures of paintings by Edades and Francisco
 Stories or biographies of Edades and Francisco (available on the Internet)
 Pencils
 Cartolina, preferably A3 in size
 OR: Any paper that is light enough or thick enough to hold color.
 OR: Any recycled/cut up box.
 Poster color, red, blue, yellow
 Acrylic house paint will work as well. The advantage is that the colors are
brighter. It is a lot cheaper. However, acrylic house paint is permanent,
and does not wash off.
 Soft Paint Brushes, small.
 OR: Sponges masking-taped or tied to sticks
 OR: Chicken feathers, for the fine tips
 Old plastic plates or plastic container lids, for mixing colors
 Sticks, toothpicks, or barbecue sticks, for mixing the paint. Recycled plastic
spoons or knives will work well also.
 Newspaper, for lining the work surface
 Damp cloth or rags, for wiping hands, brushes, or work surfaces; allot one for
every two to four students.
 If there is no faucet or water source nearby, have a pail of water in one corner
of the room. Add more pails if needed.
 Have a dry cloth or rag or two near the water pail so the students can dry
their hands.
MOTIVATION
Show paintings of the everyday lives of Filipinos by Carlos Francisco and Victorio
Edades. Ask the following questions:
 What do you see in the painting?
 Where is this place? What colors do you see?
PROCEDURE
1. Show students the paintings. Remind them that Edades and Francisco were
Filipino painters who wanted to show the everyday lives of Filipinos.

57.
Arts Teacher’s Guide 57
2. Have the students show their homework. Those who did not do their
homework can use the artwork or the sketches they drew in the last session.
Ask some students to tell the rest of the class what they drew.
3. Explain that today they will paint what they drew for homework (or something
from last session).
4. Distribute pencils, paper, and painting tools. Remind the class of the
classroom painting rules.
5. Have the students sketch, using pencil, the general outlines of what they
drew. Tell the students to draw lightly.
6. After the pencils and initial sketches have been packed away, have the
students go ahead and paint their scenes of choice.
7. After the students are finished, post their works on the wall.
8. Put the brushes in the big water pails and remove the newspaper from the
work surface.
PROCESSING AND EVALUATION
Have a story session. Some students may volunteer to talk about their artwork. See
how many others can relate to their descriptions of their works. Which scenes are
similar? Which scenes are unique? Why?
Homework
Look for objects you like, or find interesting on the way home. (Make sure they are
clean before you pick them up!)

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LESSON 17: Painting a Still Life
Lesson Summary
TIME ALLOTMENT: 2 SESSIONS (40 minutes each)
OBJECTIVES
The learners will:
1. Define the given art vocabulary after painting their still life.
2. Familiarize themselves with the still life painting style of different artists.
3. Increase their awareness of what they see everyday.
4. See everyday objects from a different perspective.
5. Create a still life painting
ART VOCABULARY
 Still Life – A work of art, a drawing or painting of a group of objects arranged
in a particular way.
 Found Objects – Objects that you find in your environment: stones, fruits,
shells, branches, baskets, pots, utensils, books, shoes, etc.
Elements and Principles
1. Shape – contrast of shapes
2. Color – cool colors and warm colors
3. Texture – smooth, rough; contrasting and similar textures
Art History/
Connecting
Art Production/
Creating
Art Criticism/
Looking and
Seeing
Art
Appreciation/
Appreciating
Just like painting
everyday life, artists
sometimes paint
manmade objects or
objects from nature.
Painting a collection of
objects also tells the
viewer about the
everyday lives of the
artist.
Create a still life
painting after
arranging together
several objects that
you see around you.
What objects
can you find
that you often
see in your
everyday life?
Appreciating
the lines,
colors, and
shapes of
objects they
see around
them often.

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Materials
 Pictures of still life paintings by Amorsolo or other Filipino artists
 Pencils
 Cartolina, preferably A3 in size
 OR: Any paper that is light or thick enough to hold color.
 OR: Any recycled/cut-up box
 Poster color, red, blue, yellow (acrylic house paint will do)
 Acrylic house paint will work as well. Its advantage is that colors come out
brighter. It is also a lot cheaper. However, acrylic house paint is
permanent, and does not wash off of clothing.
 Soft paint brushes, small.
 OR: Sponges masking-taped to sticks
 OR: Chicken feathers, for the fine tips
 Plastic plates or plastic container lids, for mixing colors
 Sticks, toothpicks, or barbecue sticks, for mixing the paint. Recycled plastic
spoons or knives will work well here also.
 Newspaper, for lining the work surface
 Damp cloth or rags , for wiping hands, brushes, or work surfaces; one for
every two to four students.
 If there is no faucet or water source nearby, have a pail of water in one corner
of the room. Add more pails if needed.
 Have a dry cloth or rags near the water pail so the students can dry their
hands after washing.
MOTIVATION
1. Ask the students to arrange the objects that they brought. Some objects can
be placed behind, while others can be placed in front. Place them on top of a
table or desk top where they can be seen. If the class is big, there can be
several “still life” arrangements.
2. Look at still life paintings by Filipino artists: Analyze how the objects are
arranged in their paintings. What objects did they include? Which objects are
in front? Which objects are at the back?
PROCEDURE
1. Gather the students and ask them to show the objects they found on the
street brought to class. Have them describe these and explain why they
picked them up.
2. Show the pictures of paintings and explain that the famous artists also
painted pictures of objects around them. It used to be that they painted

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mostly fruits, but younger artists painting other objects. Complete this first
part by telling the students that they will make their own still life paintings.
3. Review the process with the students. First draw, then paint.
4. Have the students arrange their objects in front of them.
5. Lay out the newspapers on the work surface and distribute all materials.
6. Have the students sketch their objects lightly. Then pack away the pencils.
7. The students can then start painting. (If they need to be reminded about the
classroom painting rules, do so).
8. After the students are finished, post the artwork on the wall.
9. Put the brushes in the big water pails, and remove the newspaper from the
work surface.
PROCESSING AND EVALUATION
1. As the class looks at the finished artwork, see how many of the students
painted the same objects. Do the paintings look the same? (Even if the same
objects were painted, each student is expected to have his or her own unique
style.)
2. Ask them why they picked up the same objects.
3. Ask for volunteers to tell the stories behind their objects.
4. For those who painted the same objects, ask them if their paintings look the
same. How are they different? Like our handwriting, each person has
different ways of painting and drawing.
5. Say: Each person sees things differently. We should not copy each other’s
work, because we see things differently. Each artwork or painting is unique
because each of us is unique.

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OR: Any paper that is light enough or thick enough to hold color.
OR: Any recycled/cut-up box
 Poster color, red, blue, yellow
 Acrylic house paint will work as well. Its advantage is that the colors are
brighter. It is also a lot cheaper. However, acrylic house paint is
permanent, and does not wash off.
 Soft paint brushes, small
 OR: Sponges masking-taped or tied to sticks
 OR: Chicken feathers, for the fine tips
 Old plastic plates or plastic container lids, for mixing colors
 Sticks, toothpicks, or barbecue sticks, for mixing the paint. Recycled plastic
spoons or knives will work well also.
 Newspaper, for lining the work surface
 Damp cloth or rags, for wiping hands, brushes, or work surfaces; allot one for
every two to four students.
 If there is no faucet or water source nearby, have a pail of water in one corner
of the room. Add more pails if necessary.
 Have a dry cloth or rags near the water pail so the students can dry their
hands after washing.
MOTIVATION
Show several imaginary landscape drawings by different artists, and ask
students to comment on these. What are unusual about these landscapes?
What movies have they seen where the landscape was imaginary?
PROCEDURE
1. Ask students to form groups of 5 and let them share what their imaginary
world is like. They must answer the following questions:
a. is it in the air, on land, or under the sea?
b. what kind of world is it?
c. what creatures live in this world?
d. what is the food in this place?
e. what is the means of transportation?
f. what makes this world unusual?
2. Lay the newspaper out on the table and distribute all the materials.
3. Have the students draw their imaginary landscapes using crayons.
4. Reminders:
a. Draw lightly
b. Remember the classroom painting rules!

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c. Remind them of the temperature of colors: warm and cool
Is their landscape closer to night time or in the middle of the day?
d. Encourage them to mix colors
5. Let the students paint their drawings.
6. When the students finish painting, post their artwork on the wall.
7. Put the brushes in the big water pails, remove the newspaper from the work
surface
PROCESSING AND EVALUATION
Talk about each other’s work. Whose painting shows day time? night time?
Afternoon? Pick a painting (one with easily discernible objects or features) and ask
the students how it would feel to be standing in a place that looked like this particular
landscape? Choose the most imaginative landscape; the futuristic landscape; the
best underwater landscape; the happiest landscape; the most odd-looking
landscape.
Display all their imaginary landscapes and ask them to give them titles. Their
classmates can give names to their works.